With a title inspired by Audre Lorde’s striking poem Making Love to Concrete, this exhibition positions three artists’ time-based works within an intimate space to explore the architecture of memory, oppression, and forgiveness. Catalina Ouyang’s poetic meditations on structure are carved and constructed from stone and bone, but they also contain more fragile organic elements that will slowly decompose over the course of the exhibition. Bret Schneider’s tactile sonic work refers to its own schematic imagery: the artist digitally runs saw waves through comb filters to create a pulsing aural illusion of synthetic verisimilitude. A site-responsive sculpture informs Marie Bannerot McInerney’s performative drawing gesture, which will take place during the opening reception and act to preserve the evidence of time passing. As an extension of the exhibition, these three artists collaborated on a gif that will reside in the advertising space of www.temporaryartreview.com throughout the month of August.

*The work’s title, No Stars Till You Go To the Country, is a line borrowed from Audre Lorde’s poem, Making Love to Concrete. This piece is indebted to the work and vision of Audre Lorde.